The Lost Civilizations experimental music project
arose out of a September 13, 2008 duo performance by Mike Sebastian (tenor saxophone, saxello and bass clarinet) and T. A. Zook (basscello) at Baltimore's Hexagon performance space. Since then, the project has had a series of sessions and performances which have often featured their friends. "Lost Civilizations VII" is a July 5, 2009 session featuring Larry Gomez on percussion. The music was unscored, unrehearsed and extemporaneously improvised on the spot.
highlights from the last decade include playing with the late great German master bassist Peter Kowald; the legendary German improv saxophonist Peter Brötzmann; Bluenote recording artist and jazz great altosax player Greg Osby; Joe Lally, bass player for the renowned punk group FUGAZI; Elliott Levin; alto saxophonist Aaron Martin; guitarist Ed Ricart; and percussionist Scott Verrastro.
Larry Gomez studied West African drums with the late Djimo Kuyate at the University of Maryland for a year before studying tabla and Indian rhythms in the Punjabi style. He studied tabla in India under Ashish Shrivastava and has continued studying under various teachers. He has played with the Herb Manilla and Micheal Hanson acoustic duo
, jazz saxophonist Aaron Martin, and various kirtan/bhajan sessions.
T. A. Zook
Mr. Zook's principal instrument is nylon-string guitar; he also plays electric guitar; electric bass (5-string fretless and fretted); NS Design bass cello; and a variety of analog instruments such as bowls, rainsticks, slidewhistle, whistle-flutes, oceanharp, etc., through digital signal processors. He began his study of the guitar in Chile and Uruguay (under Luis Acosta), and continued upon his return to the U.S. in the early 1960s, having the extraordinarily good fortune to then study under Sophocles Papas (classical guitar) and Frank Mullen (jazz guitar). Since 1999, he has been participating in improvisational workshops led by David Darling under the auspices of the Music for People organization.
Listeners will note some distortion in the recording, which was an unavoidable artifact of the processors used when the session was tracked. However, this session (which was totally improvised) was so powerful musically that those involved have concluded it merits release notwithstanding whatever technical imperfections it might contain.
It is with profound gratitude that the Lost Civilizations experimental music project thanks Massimo Croce for his untiring efforts in bringing the music that comes through us to a much wider public than it would otherwise reach.